You can't get device control of an ADVC100 anyway. Those people who complained of it were cranks.

Rob Mack

By the way, Zippy, great post!

Vegas' titling program has been addressed numerous times in this forum, and I know many people (myself included) would like to see it improved.

Just auto cross-fading would be enough to switch from Premiere. Intuitiveness is another big one. I'm not sure why it is Adobe's software has such a steep curve. I use GoLive and PhotoShop, yet AE, & Premiere absolutely lose me....

I know people who have used both, and I have yet to see a Premiere user tryout Vegas and NOT make the switch. Now with Sony's pull, hopefully we'll see more 3rd party plugs & press...And when Vegas 7 is right up there with FCP, Avid Express & Premiere, we'll all be considered Pioneers!

DELETED!

Zippy, thanks for the reviews, very good info. I have to agree 100% with your take on AVID. I was trained (Army) on Media100 (which I still love but cannot afford). I had to use an AVID once and it took me so long to just try and figure it ot I about went nuts. It seems that if you "grew up" on AVID, it's a great system, but trying to switch to it from anything else is an exersize in futility.
I do have to take issue with your opinion of the Chevette though... my first car was a Chevette and Damn it, I still miss it :)

Thanks again,
Brian

The one thing I missed in your list about Premiere is the ability to use the Photoshop tools and rotoscoping tools in Premiere. While these are exceptionally slow, they are one option that are valuable, IMO.
Once folks start using Satish' plug in, you'll see how slow in both use and rendering this will be, but hopefully it will open this up to Vegas. There are a few Photoshop plugs I use in AE that would allow me to do this all in Vegas.

>>...You can't get device control of an ADVC100 anyway...
>>...Those people who complained of it were cranks....

Let me rephrase; my ZR70 camcorder routed through my Canopus ADVC-100.

Thank you.

Zips - You keep on surprising me! Nah, you aint boring! Loved your review.

Grazie

Kent,

I have an ADVC100. It doesn't let you pass device control through it to a camera on the other side. I'm pretty sure Canopus has this up as a FAQ.

Don't want to seem mean. It just isn't a valid complaint. Sorry.

Rob

I think the Avid - Vegas comparison is a bit pointless. Avid systems are built on a very different paradigm to Vegas. Avid systems are heavily based in the online - offline concept. Being able to move a project from a laptop NLE onto a HidDef edit suite and conform the whole project in minutes is what it's all about. This imposes a lot of restrictions in what the low end system can do or more to the point can be allowed to do.
Also Avids lineage is based on linear systems, they had to ease people that started out working in that environment into the new ways of working without taking away the tools they were used to.
I've tried to introduce people used to linear systems to LNEs of any variety and they just don't get it.
I would say Avid themselves are as much to blame for these pointless comparisons, they're trying to capture a slice of a market that they don't and shouldn't have a product for. By all accounts they do what they do very well, they should stick to it. Vegas should stick to what it does and does well, as well.

Comparisons to Premiere or FCP etc are perfectly valid though.

>> >>>have an ADVC100. It doesn't let you pass device control
>>through it to a camera on the other side. I'm pretty sure Canopus
>>has this up as a FAQ.

I could not locate the FAQ's.

I use controls through the ADVC-100 all the time using Scenalyzer. Never a problem. Also, I am pretty sure the Vegas capture utility also had/allowed control.

It is my understanding that it's just firewire pass-through during this kind of use. I like it because it's one convenient plug in place for all of my cables, AB switches, etc.

I will double check this though in case this is an issue for other things.

Thanks for the info.

I'll let you know what I find...

The Chevy Chevette (my first car, too) is on Consumer Reports' "Don't Ever Buy This Car!" list, you know.

Spot,
Since you mentioned rotoscoping and I have made several unanswered how do I posts, here's the solution I found to add invisibility to a human in an existing video in a web tutorial. Premiere can do lots of things with its titler including vectorized tracking, contracting/expanding mats--example, using the crystallize effect in the way tv pixelates to obscure people moving about that have not signed releases or selected portions of bodies when showing movies on non-premium, censored channels. The tutorial showed obscuring the faces of soccer players as they moved about the field getting closer and closer to the camera with a moving, resizing oval-shaped mats to tracking the faces of two of the players; no need to go to a paint program--fast and simple.
There may be similar tools in Vegas [is this what the Satish' plugin does]; I'm still a newbee? If not it might be a good one to add to the wish list.
Gold

The AVID interface hasn't changed all that much since I first started using Media COmposer 8 years ago. Zippy et al are right regarding "growing up with AVID"; if that's all a person has used, it's hard to switch I guess. I'd love to have a Media Composer at home (but I could buy anoher house for that price!) but do agree there is a lot more clicking required to do things AVID-wise.

Peter

The new feature in Premiere that allows nested timelines is really a killer. I've been asking for this kind of feature for over 6 years. Especially when working with long-format projects, it's great to be able to edit scenes on separate timelines and then have a "master" timeline that contains all the scenes. This way scenes can easily be reordered by dragging and dropping. It really helps the creative process.

It's also great when you have a scene with lots of effects, mixing, or overlays. With nested timelines, you can treat the whole scene as a self-encapsulated clip on the master timeline. Currently, you have to edit the scene in a separate project, render it to an AVI, and then import into the master project. This is cumbersome, especially when there is lots of tweaking that needs to be done to the effects and mixing.

The lack of nested timelines is still my only big gripe about Vegas. But I lived without it so long in Premiere, I guess I can continue living without it now in Vegas. But I've got my fingers crossed that the SOFO team will add this feature to Vegas now that thier main competitor, Premiere, has finally got it.

We'll see...

--nate